* Etymology

pro- : in favor of, very much

for example, protagonist: the main character in a play, film, book, or story

for example, prospesity: a natural tendency to behave in a particular way

for example, proliferation: a sudden increase in number or amount

for example, prolific: a prolific writer, band etc produces a lot of books, CDs etc

op- / ob- : against

for example, opposite: across from or on the other side of someone or something

for example, obstacle: a difficulty or problem that prevents you from achieving something

for example, opponent: someone who is competing against you

┌ opponent: someone who is competing against you

└ proponent: someone who publicly supports an idea, policy, plan etc

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* In medias res

In medias res (Latin "in the midst of things") is the literary and artistic narrative technique of relating a story from the midpoint, rather than the beginning (cf. ab ovo, ab initio). In an in medias res narrative, the story opens with dramatic action rather than exposition setting up the characters and situation.

Example(from the Oddyssey): We first learn about Odysseus' journey when he is held captive on Calypso's island. We then find out, in Books IX through XII, that the greater part of Odysseus' journey precedes that moment in the narrative.

Example(from Medea): The drama starts from the nurse's lament; instead of findind the golden fleece.

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* The Golden Fleece

Jason returns with the Golden Fleece, shown on an Apulian red-figure calyx krater, ca. 340–330 BC

In Greek mythology, the Golden Fleece (Greek: χρυσόμαλλον δέρας chrysómallon déras) is the fleece of the gold-hair winged ram, which was held in Colchis. The fleece is a symbol of authority and kingship. It figures in the tale of the hero Jason and his band of Argonauts, who set out on a quest for the fleece by order of King Pelias, in order to place Jason rightfully on the throne of Iolcus in Thessaly. Through the help of Medea, they acquire the Golden Fleece. The story is of great antiquity and was current in the time of Homer (eighth century BC). It survives in various forms, among which the details vary.

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* Argo

The Argo (ca. 1500–1530), painting byLorenzo Costa

In Greek mythology, Argo (/ˈɑrɡoʊ/; in Greek: Ἀργώ, meaning 'swift') was the ship on which Jason and the Argonauts sailed from Iolcos to retrieve the Golden Fleece. She was named after her builder, Argus.

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* Vocabulary

sorceress (n.) a woman who uses evil spirits to do magic in stories

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* Asclepius

Asclepius with his serpent-entwined staff,Archaeological Museum of Epidaurus

Asclepius (/æsˈkliːpiəs/; Greek: Ἀσκληπιός, Asklēpiós [asklɛːpiós]; Latin: Aesculapius) was a god of medicine in ancient Greek religion.

The rod of Asclepius, a snake-entwined staff, remains a symbol of medicine today. (pictures below are examples)

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* Pallas Athena

Throughout the Odyssey, the Iliad, the Aeneid and more, the goddess Athena is often referred to as Pallas, or Pallas Athena. During the battle for dominance between the ancient Titan gods and the younger Olympians, Pallas is slain by Athena. She strips off his skin and uses it to protect herself in battle. The name Pallas’s name derives from the Greek word pallô meaning “to brandish (a spear).” Naming as a way of displaying ones “taking in of another” was commonly seen in Greco-Roman mythology and I will highlight it as we go along.

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* The Raven by Edgar Allan Poe

Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels name Lenore -
Nameless here for evermore.

And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'

Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'

But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow he will leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'

Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'

But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore -
Clasp a rare and radiant maiden, whom the angels name Lenore?'
Quoth the raven, `Nevermore.'

`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'

And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!

"Quoth the raven, 'Nevermore'," is what the text on the arch over the raven says.

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* Euripides

A statue of Euripides, Louvre, Paris.

Euripides (/jʊəˈrɪpɨdiːz/ or /jɔːˈrɪpɨdiːz/; Greek: Εὐριπίδης) (c. 480 – 406 BC) was one of the three great tragedians of classical Athens, the other two being Aeschylus and Sophocles.

He is reported as a prolofic writer, he is told to have many works at his time.